horus 7 is not principally focused on any particular artform, but rather in a multilplicity of activities
ranging from music, visual arts, interactive theatre, cinema, research projects, multimedia, the presentation
of various sorts of happenings, but above all on concepts and ideas. it was on the basis of certain shared
notions that collaboration began between horus 7 and dystonia.

the name originates from ongoing historical research on the predynastic and possibly antediluvian
shemsu hor, or followers of horus, rumoured to have arrived in the nile valley in remote times and
to have brought knowledge and civilisation to the people there (and who have, sadly, become the property of
hundreds of flaky new age cults due to neglect by the orthodox archaeological community) as well as a personal affinity with
the horus current itself.

the primary concern is the nature of eternity. an exploration to find the sources of consciousness
outside of time, where we originate and return without ever really leaving. there are forces in
the universe that sometimes break into peoples lives without warning, overturning completely
their perception of and approach to 'reality'. this is not generqlly an easy experience, and communicating
about it obviously poses problems as well. in this respect, horus 7's work can be seen as an attempt to
integrate, understand, and learn, stemming from the belief that the manifested universe is a kind of byproduct
of something unimaginably larger. next to this, everyday reality seems as instubstantal as a dream.this has
nothing to do with any kind of religious idea.

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L E S D I S E C T O M I E S D E L A R A C I N E D U M A L

les disectomies de la racine du mal is a personal project by horus 7 with technical support
and sound collage by angelicate, and was not originally intended for release in any form.
the work is broken down into four parts.

anatomie grew out of increasing outrage at the injustices of religion in general and the roman catholic
church in particular. even for non-christians, the moral, ethical, existential and even legal aspects of our
society and our thinking all come back to dogmatic notions that were systematically seeded in and
forced on people for many centuries. in the process, the christian creed was distorted beyond recognition
as the central ideas were gradually reworked for political rather than spiritual purposes. les disectomies
begins from this starting point with a kind of auto-exorcism of the twin christian demons of guilt and shame.

appendice 1 cross-references the languages of religion, books and anatomy in a series of complex
relations: the soul and the word strapped to the operating table of the consciousness, where the
operation is performed on the living text of the self to restore it to its complete and unexpurgated state.

appendice 2 is a reinterpretation of the appendice 1 text by angelicate, observed by horus, who
added the heavy artillery at the finish.

hymne simple par-deša le voile de l'abime is based on horus's personal experiences, and is the most
important part of this work because of this. it is intended to be like a journey back to the source of
consciousness, each episode of this piece embodies a complex interaction between different
levels of being, played out like operatic movements, leading ultimately to the reintegration into
the primordial state.

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M A R C H 1 9 N O W H E R E

a joint venture conceived by horus 7 and executed in collaboration with annihilist,
march 19nowhere unfolded as an exploration of time and memory, and should be regarded as
a piece of cinema without visuals. the screen is blank at first, then fades up to an old
man in a grey, desolate field. he stops, listening to the wind, and the memories come.
the piece focuses on the war years of 1939-45. It is not primarily intended to be documentary,
but rather looks at the events from a purely subjective interior view, expressed through organic
fragments of nostalgia, hope, fear and trauma. the question was not 'what happened' or 'why did it
happen', but 'how did it feel?' despite the numerous soundworks that have explored the two
world wars, particularly in the last decade, we felt that the human dimension had never really
been adequately explored. in terms of sound and content, this project was very far removed from
anything either of us had done before, and certainly amongst the most technically complex,
involving months of reading and sound research.